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Q: What art project(s) are you working on currently? What is your inspiration or motivation for this? (Question from artamour)

A: While traveling in Bolivia in 2017, I visited a mask exhibition at the National Museum of Ethnography and Folklore in La Paz. The masks were presented against black walls, spot-lit, and looked eerily like 3D versions of my Black Paintings, the series I was working on at the time. I immediately knew I had stumbled upon a gift. To date I have completed seventeen pastel paintings in the Bolivianos series. One awaits finishing touches, another is in progress, and I am planning the next two, one large and one small pastel painting.
The following text is from my “Bolivianos” artist’s statement.
“My long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.
The masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.
Carnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.
The exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!
Knowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.”
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Pearls from artists* # 492

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Start with the community you know, who knows you. who’s interested in whatever it is that you’ve put together with your work or your gallery space or your magazine or your brand or your performance series. Start with who you know and build from there.
I think it’s about working in a way that’s true to yourself and that allows things to happen naturally, with bits of prodding to bring new people into contact with what you do.
Peter Eleey, curator, in Art/Work: Everything You Need to Know (and Do) As You Pursue Your Art Career by Heather Darcy Bhandari and Jonathan Melber
Comments are welcome!
Pearls from artists* # 469

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
I feel artists are at the cutting edge of everything created by humans in our society. I would love for artists, young and old, to remember that for the Art World to exist, the first thing that is necessary is art. No gallerist, museum director, preparatory, or museum guard would have a job without an artwork having been created.
Without remembering this, artists can lose sight of their power and worth. We begin to believe that the Art World came first and that we need to change, appropriate, adjust, or edit ourselves and our work to fit into this world. This does not need to happen, and should not happen.
Stephanie Diamond, artist, New York, NY, in Art/Work: Everything You Need to Know (And Do) As You Pursue Your Art Career by Heather Darcy Bhandari and Jonathan Melber
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Q: What’s on the easel today?

A: I’m working on another large (58” x 38”) “Bolivianos” pastel painting based on old Bolivian masks encountered at the Museum of Folklore and Ethnography in La Paz four years ago. The masks were made to be worn in annual Carnival celebrations that happen in the mountain town of Ouroro, about a three-hour drive from La Paz.
Comments are welcome!
Pearls from artists* # 289
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
I do not think it the business of a poet to become a guru. It is his business to write poetry, and to do that he must remain open and vulnerable. We grow through relationships of every kind, but most of all through a relationship that takes the whole person. And it would be pompous and artificial to make an arbitrary decision to shut the door.
The problem is to keep a balance, not to fall to pieces. In keeping her balance in her last years Louise Bogan stopped writing poems, or nearly. It was partly, I feel sure, that the detachment demanded of the critic (and especially his absorption in analyzing the work of others) is diametrically opposed to the kind of detachment demanded of the poet in relationship to his own work. We are permitted to become detached only after the shock of an experience has been taken in, allowed to “happen” in the deepest sense. Detachment comes with examining the experience by means of writing the poem.
May Sarton in Journal of a Solitude: The intimate diary of a year in the life of a creative woman
Comments are welcome!
Pearls from artists* # 203
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
One day, looking for something that might interest those few buyers there were, Marquet and I decided to reconnoiter. So we went to the Pavillon de Rohan, to the Galeries de Rivoli, where there were dealers in engraving and in all kinds of curiosities that might attract foreign customers. We each came back with an idea: mine was to do a park landscape with swans. I went to the Bois de Boulogne to do a study of the lake. Then I went to buy a photo showing swans and tried to combine the two. Only it was very bad; I didn’t like it – in fact nobody liked it; it was impossible; it was stodgy. I couldn’t change; I couldn’t counterfeit the frame of mind of the customers on the rue de Rivoli or anywhere else. So I put my foot through it.
I understood then that I had no business painting to please other people; it wasn’t possible. Either way, when I started a canvas, I painted it the way I wanted with things that interested me. I knew very well that it wouldn’t sell, and I kept putting off the confection of a picture that would sell. And then the same thing would happen the next time.
There are plenty of artists who think it’s smart to make paintings to sell. Then – when they have acquired a certain reputation, a degree of independence – they want to paint things for themselves. But that simply isn’t possible. Painting’s an uphill task and if you want to find out what you’re capable of, you can’t dillydally on the way.
Chatting with Henri Matisse: The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller
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